COVER
Evening Dress, Fall 2008
2008. LIE SANGBONG
(Korea, est. 1985). Lie
Sang Bong (Korean, b.
1954). Wool. Courtesy
of LIE SANGBONG
Photo courtesy of LIE
SANGBONG
Cleveland Art: The Cleveland
Museum of Art Members
Magazine
Vol. 65 no. 2, 2024 (ISSN 1554-
2254). Published quarterly by
the Cleveland Museum of Art,
11150 East Boulevard, Cleveland,
Ohio 44106-1797.
POSTMASTER: Send address
changes to Cleveland Art:
The Cleveland Museum of Art
Members Magazine at the
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included in membership fee.
Periodicals postage paid at
Cleveland, Ohio.
2 2024 ISSU
Mm
i)
FROM THE DIRECTOR
Dear Members,
Here at the museum, we are excited to welcome another beautiful summer on
the shores of Lake Erie with a compelling array of exhibitions and other pro-
grams. Our offerings this season abound with major loan shows and thematic
installations as well as programs to delight our members, friends, and family.
In particular, I invite you to visit Korean Couture: Generations of Revolution,
a first-of-its-kind exhibition that presents some 30 works of fashion and ac-
companying ephemera, ranging from excavated 17th-century aristocratic
garments to contemporary Korean couture by leading and emerging design-
ers. In juxtaposing historical and contemporary ensembles, the exhibition
redefines “couture” from an inclusive perspective, amplifying the ways tra-
dition has empowered contemporary Korean fashion designers to invent a
new artistic language.
Iam also thrilled to let you know that contemporary artist Rose B. Simpson
has envisioned a site-specific project titled Strata for the Ames Family Atrium,
to be installed in July. According to the artist, Strata is inspired by her time
in Cleveland and “the architecture of the building, the possibility of the space,
and the tumbled stones from the shores of Lake Erie,” as well as her own
Indigenous heritage and the landscape of her ancestral homeland at Santa
Clara Pueblo, New Mexico. Strata comprises two towering 25-foot-tall figural
sculptures. Constructed in the artist’s signature clay medium, in addition
to porous concrete and cast bronze, the figures have layers that mimic rock
eroded through geologic time and the materiality of man-made architecture.
The engaging and timely exhibition Picturing the Border, opening on July
21, presents photographs of the US—Mexico borderlands from the 1970s to
the present, taken by both border residents and outsiders. Capitalizing on
the prevalent issues of the border today, the exhibition aims to spark vital
conversations about citizenship and depicts complex negotiations of personal
identity as it pertains to the border.
Also in this issue, Kristen Windmuller-Luna, curator of African art, high-
lights an exhilarating new installation in the African art galleries of a work
by contemporary artist by Yinka Shonibare. Alexander J. Noelle, assistant
curator of European paintings and sculpture, 1500-1800, takes us along on
a trip to study the origins of a beloved object in the CMA’s collection, Christ
and the Samaritan Woman at the Well, from the workshop of Giovanni della
Robbia. And, as you take in the greenery that surrounds the museum, we
introduce you to the crew tasked with the immensely important job of caring
for the lush grounds available for our entire community to enjoy.
With my gratitude and every good wish,
A chi LOT ae
William M. Griswold
Director and President
[INO TRS: USSU
4
Korean Couture
Historical luxury garments
inform fashion today and
tomorrow
12
Exhibitions Schedule and
Calendar
Plan your next visit
Endowing Exhibitions
Leadership
Celebrating the gift by
Margaret and Loyal Wilson
27 Tasting Notes
Picturing the Border
Contemporary photography
from the US—Mexico
borderlands
The 60th Venice Biennale
and the CMA
Following its international
premiere, Shahzia Sikander:
Collective Behavior comes to
Cleveland
Yinka Shonibare’s Birdcage
Kid (Boy)
A sculpture of history and
hope
32 To the “Jerusalem of Tuscany” and Back
34 Recent Events for Members
36 Member Highlights
38 Funding Conservation’s Greatest Need
8
Rose B. Simpson’s Strata
Figures striking at a distance,
rewarding up close
Summertime Fun
Flourish in long, light-filled
days
30
The Grounds Crew
Nurturing the CMA’s
historical landscape as it
grows
CMA.ORG 3
EXHIBITION
Korean Couture
Historical luxury garments inform fashion today and tomorrow
EXHIBITION
Korean Couture:
Generations of
Revolution
Through October 13, 2024
The Kelvin and Eleanor
Smith Foundation Gallery
E. Rhodes and Leona B.
CARPENTER FOUNDATION
korea KF
FOUNDATION
Major support is provided by the
E. Rhodes and Leona B. Carpenter
Foundation and the Korea
Foundation. Generous support is
provided by Ms. Judith Gerson.
Additional support is provided
by the Dunhuang Foundation,
the Joseph M. and BonnieN. S.
Gardewin Endowment for Korean
Art Exhibitions, Pamela A.
Jacobson, Courtney and Michael
Novak, and Mr. Ken S. Robinson.
Man’s Overcoat
(Jungchimak) late
1500s—mid-1600s.
Korea, Joseon dynasty
(1392-1910). Patterned
damask silk and silk tabby.
Sim Yeon’s (1587-1646)
Tomb. Gyeonggi Province
Museum, 12973. Photo
courtesy of Gyeonggi
Province Museum
4 2024 ISSU
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I)
In the previous issue of the magazine, we took
a close look at the legacy of André Kim, one of
the celebrated contemporary designers featured
in Korean Couture: Generations of Revolution. To
gain more insight into the legacy of Korean fash-
ion, Cleveland Art sat down with Sooa McCormick,
Korean Foundation Curator of Korean Art, and
Darnell-Jamal Lisby, assistant curator of fashion,
to discuss the show’s presentation of historical
dress traditions and the contemporary manifes-
tations inspired by them.
Dress history gives us insight into other cultures
and customs. What customs do we learn about
in this show and what do they teach us about
Korean culture?
SM: Thanks to the lime-mortar burial method,
which became widely popular in Korea around
the late 1400s, luxury garments once worn and
cherished have survived in stunningly good condi-
tion. A group of well-preserved examples dated to
the 1600s, mostly excavated from the Cheongsong
Sim clan’s tomb complex and now a part of the
collection of the Gyeonggi Province Museum, are
featured in this special exhibition. These showcase
how custom-made luxury garments are an im-
portant part of early modern Korean aristocratic
traditions from birth to death. For the living, fash-
ion expressed taste and social status, but for the
dead, it serves as a comfort during their journey
in the afterlife. The overcoat on view once worn
by Sim Yeon (1587-1646) is an excellent example
of 17th-century elite men’s style.
Through the show, you juxtapose historical and
contemporary ensembles. What discoveries do
these groupings reveal?
DL: Juxtaposing Korean high fashion from the
past and the present can lead to an understand-
ing of how the selected contemporary designers
have interpreted their historical inspirations
to develop a framework and experiment with
Evening Dress, Spring/
Summer Couture 2012
2012. LEE JEAN YOUN
(Korea, est. 2004). Lee Jean
Youn (Korean, b. 1978). Silk.
Courtesy of LEE JEAN
YOUN. Photo courtesy of
LEE JEAN YOUN
RIGHT
Hat, Spring 2024 2023.
LIE SANGBONG (Korea,
est. 1985). Lie Sang Bong
(Korean, b. 1954). Polyester.
Photo courtesy of LIE
SANGBONG
innovative methods. Lie Sang Bong’s Hat from
his recent Spring 2024 collection exemplifies
the dynamism of juxtaposition. On this con-
temporary headpiece, which adopts the sil-
houette of a traditional Korean hat called a gat
(4), the artist also employs the color palette used
on the underroof of classical Korean buildings to
create a textured pattern.
Which design techniques is Lee Jean Youn, an-
other featured contemporary artist, bringing
into the fashion industry?
DL: His artistic and technical prowess as a coutu-
rier led to his being the first Korean designer to
be invited by the Fédération de la Haute Couture
et de la Mode to show haute couture collections
from 2010 to 2012. He has a way of taking his in-
spirations to minimalistic yet elegant measures.
For instance, his multilayered evening dress from
the Spring/Summer 2011 Haute Couture collection
combines the influence of historical Korean fash-
ion and art and the iconic Seven Layered Dress
by André Kim. In this sense, Lee’s haute couture
works featured in the exhibition act as a portal
between the past, the present, and the future.
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What do you hope our visitors glean from the
exhibition?
SM: Quite simply, we hope they will see that cou-
ture is not exclusively a Western practice, but
rather that it exists in many forms globally and
has endured throughout time. We are excited to
present how the rich tradition of Korean fashion
and art has empowered contemporary Korean
fashion designers to challenge existing biases
and to evoke the value of inclusivity in the future
global fashion industry.
CMA.ORG 5
6 2024 ISSUE 2
EXHIBITION
Picturing the Border
Contemporary photography from the US—Mexico borderlands
Nadiah Rivera Fellah
Associate Curator of
Contemporary Art
EXHIBITION
Picturing the Border
July 21, 2024-January 5,
2025
Mark Schwartz and
Bettina Katz Photography
Galleries | Gallery 230
OPPOSITE
Cholos, White Fence,
East Los Angeles 1986.
Graciela Iturbide (Mexican,
b. 1942). Gelatin silver
print; 35.2 x 27.7 cm. The
J. Paul Getty Museum,
Los Angeles, Gift of Leslie
and Judith Schreyer and
Gabri Schreyer-Hoffman in
honor of Virginia Heckert,
2017.41. © Graciela Iturbide
Yrenia Cervantes 1990.
Laura Aguilar (American,
1959-2018). Gelatin silver
print; 27.9 x 35.6 cm. The
Cleveland Museum of Art,
Karl B. Goldfield Trust,
2023.10. © The Laura
Aguilar Trust
Photojournalism from the US—Mexico border cur-
rently emphasizes stark, divisive images: walls,
fences, surveillance devices, border patrols,
“coyotes,” and crossing migrants. Yet some of the
most compelling artwork dealing with this region
attests to several generations of cross-border
familial relationships, personal identities that
carry markers of both countries, and hybrid cul-
tures that meld influences from the United States,
Mexico, and farther south in Latin America. This
more complex work demonstrates how border res-
idents have resisted being defined by the border
and its conflicts, concentrating instead on a de-
territorialized notion of home, along with a sense
of self that often transcends both nationalism and
gender politics.
The photographs and video works included in
Picturing the Border offer a more nuanced por-
trayal of life in the borderlands. The exhibition
positions the US—Mexico border as a cultural
framework and highlights how Latinx photo-
graphers—many of whom are border residents
themselves—have instead formulated alternative
photographic vocabularies with regard to place,
identity, and race. Photographs range in subject
matter from intimate domestic portraits, extended
family gatherings, and political demonstrations to
images of border crossings and clashes between
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migrants and the US border patrol. The earliest
images in this exhibition form an origin story
for the topicality of the US—Mexico border at the
present moment and demonstrate that the issues
of the border have been a critical point of inquiry
for artists since the 1970s.
The exhibition is accompanied by an important
scholarly publication that brings new insights to
the subject of Latinx photography and the history
of the US—Mexico border. Picturing the Border has
also brought about the opportunity to grow our
permanent collection in this area, precipitating
recent acquisitions by Laura Aguilar and the do-
nation of an important work by Ada Trillo, who
has witnessed firsthand the perils of the unbeliev-
ably extensive journey migrants have taken from
Central America to the United States.
Although Cleveland is far from the southern
border, stories of global migration are woven
throughout the CMA’s encyclopedic collection as
well as throughout the community in Northeast
Ohio. Picturing the Border puts faces on stories
and brings to life the various threads that stitch
together an ever-growing understanding of, and
empathy for, the migrant experience.
cuyahoga
arts & culture
community supported funding
The Cleveland Museum of Art is
funded in part by residents of
Cuyahoga County through a public
grant from Cuyahoga Arts & Culture.
This exhibition was supported in
part by the Ohio Arts Council, which
receives support from the State of
Ohio and the National Endowment
for the Arts.
CMA.ORG 7
EXHIBITION
Rose B. Simpson's Strata
Figures striking at a distance, rewarding up close
Nadiah Rivera Fellah
Associate Curator of
Contemporary Art
EXHIBITION
Rose B. Simpson: Strata
July 14, 2024-April 13,
2025
Ames Family Atrium
8 2024 ISSUE 2
Rose B. Simpson (Santa Clara Pueblo, b. 1983) has
envisioned a site-specific project for the Ames
Family Atrium titled Strata. The light-filled open
piazza with a 60-foot glass ceiling is an expansive
gathering place, and the largest free indoor space
in Cleveland. Since it opened in 2012, the atrium
has been activated with contemporary art at vari-
ous points. Simpson’s Strata is the second work to
be commissioned specifically for the site.
In 2022, I invited Simpson to visit Cleveland to
consider creating a project for the space. From
initial conversations and that visit, she proposed
the following: 25-foot figures mounted on metal
bases at both sides of the atrium, facing each other
above the heads of visitors. These two figures are
made of layers of dyed Pumice-Crete (a light yet
sturdy mixture of pumice, or volcanic rocks and
ash, and concrete). The layers of the mixture mim-
ic rock eroded through geologic time as well as
the material structure of man-made architecture
in reference to nature. The shoulders and head of
each piece are built in fired clay. Mounted to the
heads are aluminum structures intended to cast
shadows to reference the structures of the mind
in relationship to time and space and how these
influence our perceived reality.
According to the artist, “this piece is inspired
by a visit to the museum, the architecture of the
building, the possibility of the space, [and the]
tumbled stones from the shores of Lake Erie.”
Simpson considers the atrium itself a collaborator
in the process of creating Strata, saying that “the
space spoke to me with its beauty” and inspired
the design of her sculptures.
LEFT, BELOW
Rose B. Simpson
working on Strata
at Santa Clara Pueblo,
New Mexico. Photos by
Kate Russell
cuyahoga
arts & culture
community supported funding
Ohio Arts £5
The Cleveland Museum of Art is
funded in part by residents of
Cuyahoga County through a public
grant from Cuyahoga Arts & Culture.
This exhibition was supported in
part by the Ohio Arts Council, which
receives support from the State of
Ohio and the National Endowment
for the Arts.
Simpson’s heritage and identity as a Native
woman has greatly impacted her work. She was
born and raised on the Santa Clara Pueblo, New
Mexico, and is from a long lineage of women work-
ing in the ceramic tradition in her tribe that dates
back hundreds of years. Her signature ceramic
figures represent a bold intervention in colonial
legacies of dependency, erasure, and assimilation.
The influence of her identity as a Native woman
is evident in her work, but she balances her deep
rootedness in her heritage with modern methods,
materials, and processes, incorporating elements
like metal and Pumice-Crete along with clay.
Simpson’s signature clay sculptures are beau-
tifully handmade and delicate. When the they are
seen in person, one gets a sense of the artist’s
hands and finger impressions in the clay and can
see how she works the surface of her objects to
shape them. For this reason, Simpson’s work is
perfectly situated for the Ames Family Atrium. Her
figures are striking from a distance, and they also
reward close looking.
The decision to feature Simpson’s work grew in
part out of the extensive process the museum un-
dertook leading up to our “Indigenous Peoples and
Land Acknowledgment” (announced January 31,
2023). Working in concert with an advisory com-
mittee of area Native Americans, the CMA adopted
the resolution to recognize the Native Americans
who were dispossessed from this region in the
past and to inaugurate a new era of collaboration
with Indigenous peoples living in Northeast Ohio.
This initiative includes a series of efforts to en-
hance representation of Indigenous Americans in
the museum’s permanent collection, exhibitions,
and public programs. The acknowledgment itself
was recently posted as a plaque in the museum’s
Horace Kelley Art Foundation North Lobby, and a
longer statement explaining its purpose and back-
ground is on our website.
The CMA convened an Indigenous advisory
committee in late 2021 to discuss whether an
acknowledgment should be made, to seek guid-
ance on how Native Americans and their arts are
ABOVE, BELOW
Rose B. Simpson’s
studio at Santa Clara
Pueblo, New Mexico.
Photos by Kate Russell
presented in the galleries, and to explore ways to
develop a long-term relationship with the region’s
Indigenous community. Committee members rep-
resent a range of ancestries and tribal affiliations;
some have deep roots in Northeast Ohio while oth-
ers arrived more recently. This same committee
was consulted in the proposal and early planning
phases of Rose B. Simpson: Strata.
Recently, Simpson’s work has been featured in
solo exhibitions at the Institute of Contemporary
Art in Boston, the Nevada Museum of Art,
the Princeton University Art Museum, SCAD
Museum of Art in Savannah, and Field Farm in
Williamstown, among other locations. We are
looking forward to featuring Simpson’s work in
Ohio through this major project in the atrium.
Exhibitions through August 2024
Members see all ticketed exhibitions for free!
Rose B. Simpson: Strata
July 14, 2024-April 13, 2025
Ames Family Atrium
Rose B. Simpson's site-specific project Strata for the Ames Family
Atrium is inspired by time spent in Cleveland as well as her own
Indigenous heritage and the landscape of her ancestral homelands
at Santa Clara Pueblo, New Mexico. Strata comprises two 25-foot-tall
figural sculptures that tower above the heads of visitors.
Picturing the Border
July 21, 2024-January 5, 2025
Mark Schwartz and Bettina Katz Photography Galleries | Gallery 230
Picturing the Border presents photographs of the US-Mexico
borderlands from the 1970s to the present taken by border residents
and outsiders. They range from domestic portraits, narratives of
migration, and documentation of political demonstrations to images
of border crossings and clashes between migrants and the US border
patrol. These form an origin story for the topicality of the US-Mexico
border at present and demonstrate that issues of the border have
been a point of inquiry for artists for half a century.
Barbara Bosworth: Sun Light Moon Shadow
Through June 30, 2024
Mark Schwartz and Bettina Katz Photography Galleries | Gallery 230
Barbara Bosworth’s photographs of light, from eclipses, sunrises, and
sunsets to the luminescent glow of fireflies, imbue these phenomena
with human meaning and elucidate bonds between us and the natural
world that often go unnoticed.
Africa & Byzantium
Through July 21, 2024
The Kelvin and Eleanor Smith Foundation Exhibition Hall
This exhibition considers the complex artistic relationships between
northern and eastern African Christian kingdoms and the Byzantine
Empire from the fourth century CE and beyond. The first international
loan exhibition to treat this subject, the show includes more than
160 works of secular and sacred art, many of which have never been
exhibited in the US.
Monet in Focus
Through August 11, 2024
Julia and Larry Pollock Focus Gallery | Gallery 010
This exhibition of five paintings by French Impressionist Claude
Monet features three special loans from the Musée Marmottan Monet
in Paris placed in intriguing conversation with two favorites from
the Cleveland Museum of Art’s collection. These works reveal how
fully Monet immersed himself in capturing the effects of light in his
paintings, no matter the subject; they also affirm his reputation as one
of the most daring artists of the early 1900s.
12 2024 |ISSU
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I)
Fairy Tales and Fables: Illustration and Storytelling in Art
Through September 8, 2024
James and Hanna Bartlett Prints and Drawings Gallery | Gallery 101
Industrialization transformed book production, from the manufacture
of paper and ink to the printing and distribution of finished volumes.
Drawn from the museum’s holdings and local collections, this
exhibition features more than 50 rarely seen artworks related to book
illustration created between 1750 and 1950.
Into the Seven Jeweled Mountain: An Immersive Experience
Through September 29, 2024
Arlene M. and Arthur S. Holden Textile Gallery | Gallery 234
In Korea, mountains known for awe-inspiring topographic features
were much beloved by early tourists and pilgrims and soon became the
most popular subject of landscape paintings. A 19th-century 10-panel
folding screen in the CMA’s collection is the most spectacular example
portraying the Seven Jeweled Mountain. This groundbreaking digital
immersive exhibition leads you on a hike in this wonderous realm.
Korean Couture: Generations of Revolution
Through October 13, 2024
The Kelvin and Eleanor Smith Foundation Gallery
The first Korean fashion exhibition at the CMA juxtaposes historical
and contemporary ensembles, from excavated 17th-century
aristocratic garments to modern-day couture fashion, showing how
tradition has empowered contemporary Korean fashion designers to
invent a new artistic frontier.
Jewish Arts and Culture Installation
Through January 5, 2025
Various galleries
The CMA incorporates precious examples of Jewish ceremonial
objects (called Judaica) in six galleries, representing the active faith
of the Jewish people over centuries and across the world. These
testify to artists’ creativity in adapting traditional forms of Judaica
to changing fashions and styles. Explore the artistic and cultural
significance of these objects and learn about the rituals for which they
were created.
Christmas Solar Eclipse in My
Father’s Hands, Sanibel 2000,
printed 2023. Barbara Bosworth
(American, b. 1953). Gelatin silver
print; 50.8 x 40.6 cm. Courtesy of
the artist. © Barbara Bosworth.
In the Mark Schwartz and Bettina
Katz Photography Galleries |
Gallery 230
Permanent Collection Installations
Contemporary Calligraphy and Clay
June 7, 2024-June 2025
The Kelvin and Eleanor Smith Foundation Japanese Art Galleries |
Galleries 235A-B
Calligraphy and ceramics are two major art forms in Japanese culture.
They have historically been appreciated together, often paired in
spaces called tokonoma, or simply toko, a term that can be translated
as “display alcove.” This installation revisits the bond of calligraphy
and clay through contemporary works set in the modern space of the
museum gallery.
Miguel Fernandez de Castro: Grammar of Gates /
Gramatica de las Puertas
July 21, 2024-January 5, 2025
Gallery 224B
Screening as part of Picturing the Border, this film combines footage
from the movie Geronimo Jones (1970) and landscape drone
images of the borderlands. It elucidates how colonial legacies of
occupation were embedded in such narratives as “violent blueprints
for interactions” between the border patrol and migrants as well
as Native inhabitants, such as the Tohono O’odham Nation, an
Indigenous people of the Sonoran Desert.
Creation, Birth, and Rebirth
August 10, 2024-August 2025
Gallery 115
Concepts of birth, creation, and re-creation were central to the people
of the Middle Ages across different cultures. In addition to objects such
as pages from manuscripts, prints, and sculptures from the European
Middle Ages, the exhibition also includes examples of these from the
Indian, Chinese, and Aztec cultures.
To the River’s South in Japanese Painting
Through June 2, 2024
The Kelvin and Eleanor Smith Foundation Japanese Art Galleries |
Galleries 235A-B
Jiangnan, a coastal region south of the Yangzi River in China, has
throughout large parts of its history been one of the wealthiest, most
populous, and most fertile lands on our planet. Art from Jiangnan
has defined the image of traditional China for the world. This gallery
features paintings and painted ceramics that show some of the ways
Japanese artists understood and interpreted the cultural allure of
southern China for their audiences from the 1500s to the 1700s.
The Most Unforgettable Tiger We’ve Known
Through July 14, 2024
Gallery 224B
This work features footage from the Cleveland Metroparks Zoo
alongside still photography and drawings that call attention to the
constructed nature of art. Made in one of the CMA’s experimental
film animation, which were held in in the 1960s and 1970s, the visual
and sound elements were produced by 12- to-18-year-old students.
This work was preserved in 2002 with a grant from the National Film
Preservation Foundation.
14 2024 ISSU
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i)
Gazing at a Waterfall (23%), c. early 1500s. Scami (48 Balin)
(Japanese, d. 1525). Album leaf mounted as a hanging scroll; ink
and slight color on paper; 113 x 47.6 cm. Purchase from the J. H.
Wade Fund, 1977.30. In the Kelvin and Eleanor Smith Foundation
Japanese Art Galleries | Gallery 235A
Jewish Arts and Culture Installation
Through January 5, 2025
Various galleries
Precious examples of Jewish ceremonial objects (called Judaica) are
on view in six galleries, representing the active faith of the Jewish
people over centuries and across the world. These works testify to
artists’ creativity in adapting traditional forms of Judaica to changing
fashions and styles. Explore the artistic and cultural significance of
these objects and learn about the rituals for which they were created.
Six Dynasties of Chinese Painting
Through September 1, 2024
Clara T. Rankin Galleries of Chinese Art | Gallery 240A
This installation presents a selection of the museum’s best paintings
from six dynasties highlighting figures, landscapes, animals, birds,
flowers, and religious and historical themes. Their acquisition dates
range from the museum’s founding years to recent additions,
demonstrating the CMA’s ongoing commitment to Chinese paintings,
the strongest asset of the Chinese collection.
Carpets and Canopies in Mughal India
Through September 8, 2024
Gallery 242B
Carpets and canopies designated portable courtly spaces among
nomadic groups, such as the Mongols and Turks of Central Asia. The
Mughals of India, who were of Mongol and Turkic descent, continued
to use them to mark royal presence. Regional rulers throughout India
soon adopted the use of the /harokha carpet to locate other members
of a royal household. See luxurious, intricately patterned examples
made of silk or pashmina.
From Dreaming to Hiking: Korean Landscape Paintings
Through September 29, 2024
Korea Foundation Gallery | Gallery 236
Whether depicting imaginary, idealized terrain or actual geographic
and historical sites, Korean landscape paintings are celebrated
for their dynamic artistic vocabulary. This exhibition explores this
painting tradition wherein nature becomes an important dimension of
human experience.
Ancient Andean Textiles
Through December 8, 2024
Jon A. Lindseth and Virginia M. Lindseth, PhD, Galleries of the Ancient
Americas | Gallery 232
These six textiles were made by weavers of the ancient Chimu
civilization, which took root on Peru’s north coast in 1000. Made
of white cotton and surely worn by Chimu nobility, the garments
represent ancient Andean menswear, combining different textures,
some dense and sculptural and others so open and airy they are
nearly invisible.
Native North American Textiles and Works on Paper
Through December 8, 2024
Sarah P. and William R. Robertson Gallery | Gallery 231
On display are two Diné (Navajo) garments from the late 1800s—a
woman’s dress and a rug woven for the collector’s market, modeled
after the Diné shoulder blanket. Also on view is a 1920s watercolor
by the Pueblo artist Ma Pe Wi (Velino Shije Herrera), key to a
major development in Southwest Indigenous arts as Native people
took control of representing their own cultures after centuries of
marginalization.
Tunic 400-200 BCE. Peru, South
Coast, Ica Valley, Ocucaje site?,
Paracas people. Looped camelid
fiber; 94 x 82.6 cm. The Norweb
Collection, 1940.514. In Jon A.
Lindseth and Virginia M. Lindseth,
PhD, Galleries of the Ancient
Americas | Gallery 232
CMA.ORG 15
June
© Donor exclusive
© Member exclusive
F Free; ticket required
© Paid: ticket required
Visit cma.org/events for details
about these exciting happenings!
1
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
2 3
COMMUNITY ARTS
CENTER
Family FUNday
1:00-4:00 p.m.
To the River’s South
in Japanese Painting
Closes
4, 5
VIRTUAL
Lunchtime Lecture @
12:00 p.m.
6
Chamber Music in
the Galleries
6:00 p.m.
7
Contemporary
Calligraphy and Clay
Opens
MIX: All Out @@
6:00-10:00 p.m.
Parade the Circle
12:00 p.m.
COMMUNITY ARTS
CENTER
Closed
9 10
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
11 12
13
14
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Artist in the Atrium
1:00-4:00 p.m.
COMMUNITY ARTS
CENTER
Summer Japanese
Sweets @
10:00 a.m.-12:00 p.m.
Open Studio
1:00-4:00 p.m.
16 17
COMMUNITY ARTS
CENTER
Juneteenth
Celebration
1:00-4:00 p.m.
18 19
20
21
Africa & Byzantium
Member Tour @ ©
12:00 p.m.
22
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
23 24
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
25 26
27
30
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
Barbara Bosworth:
Sun Light Moon
Shadow
Closes
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Open Studio:
Patchwork
11:00 a.m.-3:00 p.m.
© Free ticket required
6 Paid; ticket required
© Donor exclusive
i] Member exclusive
1 2 3 4, 5 6
VIRTUAL COMMUNITY ARTS
Lunchtime Lecture @ CENTER
12:00 p.m. Open Studio
1:00-4:00 p.m.
7
COMMUNITY ARTS
CENTER
Family FUNday
1:00-4:00 p.m.
10
TRANSFORMER
STATION
City Stages: Pahua
7:30 p.m.
11
Leadership Circle
Cocktails and
Conversation:
Rose B. Simpson OG
5:30-7:30 p.m.
12
Africa & Byzantium
Member Tour © @
12:00 p.m.
13
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
14
Rose B. Simpson:
Strata
Opens
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
The Most
Unforgettable Tiger
We’ve Known
Closes
15
16
17
TRANSFORMER
STATION
City Stages: Wesli
7:30 p.m.
18
TRANSFORMER
STATION
The CMA and
Ideastream Present
Third Thursdays @
7:00 p.m.
19
20
Artist in the Atrium
11:00 a.m.-3:00 p.m.
COMMUNITY ARTS
CENTER
Black Arts Showcase
12:00-4:00 p.m.
Open Studio
1:00-4:00 p.m.
21
Miguel Fernandez de
Castro: Grammar of
Gates / Gramatica de
las Puertas
Opens
Picturing the Border
Opens
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
Africa & Byzantium
Closes
22
23
24
Emerging Leadership
Circle Tour and
TastingOO
6:00 p.m.
25
26
27
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
28
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
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TRANSFORMER
STATION
City Stages: Bia
Ferreira
7:30 p.m.
August
| SUN MON TUE WED THU FRE SAT
Visit cma.org/events for details
about these exciting happenings!
© Donor exclusive
© Member exclusive
2
@ Free; ticket required
© Paid: ticket required
3
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
4
COMMUNITY ARTS
CENTER
Family FUNday
1:00-4:00 p.m.
Liturgical Textiles
from Late Medieval
Germany
Closes
6
VIRTUAL
Lunchtime Lecture @
12:00 p.m.
10
Creation, Birth, and
Rebirth
Opens
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
11
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
Monet in Focus
Closes
12
13
14 15
16
17
Artist in the Atrium
11:00 a.m.-3:00 p.m.
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
18
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
19
20
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Material Matters TRANSFORMER
Gallery Talk @ STATION
12:00 p.m. The CMA and
Ideastream Present
Third Thursdays @
7:00 p.m.
23
24
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
25
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
26
27
28 29
30
COMMUNITY ARTS
CENTER
Maya Textile
Reception
5:00-7:00 p.m.
31
COMMUNITY ARTS
CENTER
Open Studio
1:00-4:00 p.m.
CMA.ORG 19
SUPP ORT
Fund for Exhibitions
All exhibitions at the Cleveland Museum of Art are underwritten
by the CMA Fund for Exhibitions. Principal annual support is
provided by Michael Frank and the late Pat Snyder, the Kelvin
and Eleanor Smith Foundation, the John and Jeanette Walton
Exhibition Fund, and Margaret and Loyal Wilson. Generous
annual support is provided by two anonymous supporters, Ginl
and Randy Barbato, the late Dick Blum and Harriet Warm, Gary
and Katy Brahler, Cynthia and Dale Brogan, Dr. Ben and Julia
Brouhard, Brenda and Marshall Brown, Richard and Dian Disantis,
the Jeffery Wallace Ellis Trust in memory of Lloyd H. Ellis Jr.,
Leigh and Andy Fabens, the Frankino-Dodero Family Fund for
Exhibitions Endowment, Florence Kahane Goodman, Janice
Hammond and Edward Hemmelgarn, Marta Jack and the late
Donald M. Jack Jr., Carl T. Jagatich, Eva and Rudolf Linnebach,
William S. and Margaret F. Lipscomb, Bill and Joyce Litzler, the
Roy Minoff Family Fund, Lu Anne and the late Carl Morrison,
Jeffrey Mostade and Eric Nilson and Varun Shetty, Tim O’Brien
and Breck Platner, William J. and Katherine T. O’Neill, Michael
and Cindy Resch, William Roj and Mary Lynn Durham, Betty T.
and David M. Schneider, Paula and Eugene Stevens, the Womens
Council of the Cleveland Museum of Art, and Claudia Woods and
David Osage.
CMA Fund for Exhibitions supporters as of April 25, 2024
SUPPORT
Saundra “Saundy Stemen
Saundra “Saundy” Stemen has been a member of
the CMA since 1980. The museum played a role
in Saundy’s decision to make Cleveland her home
when she visited the CMA for the first time and
was captivated by Pablo Picasso’s La Vie (1903)—a
striking figurative painting from his Blue Period.
A retired art history and studio art teacher for
Lakewood City Schools, Saundy has dedicated her
career to education in the arts. Over the course
of 15 years, she brought her students to the CMA
six times per year. After her retirement, Saundy
worked for 10 years in the CMA’s education depart-
ment and became interested in photography, prints,
and drawings—subjects she had often taught.
Her incredible dedication to the arts has helped
illuminate the museum’s permanent collection and
special exhibitions for many young people across
Northeast Ohio.
Saundy’s meaningful involvement with the
museum has led her to establish the Saundra K.
Stemen Fund for Exhibitions, a highly impactful
endowment that provides vital resources and ongo-
ing support for special exhibitions, helping to bring
transformative experiences to CMA audiences.
CMA.ORG 21
EXHIBITION
The 60th Venice Biennale and the CMA
Following its international premiere, Shahzia Sikander: Collective Behavior comes to Cleveland
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Emily Liebert On April 18, 2024, the Cleveland Museum of Art co-
Curator of Contemporary Art hosted the opening of Shahzia Sikander: Collective
Behavior at the Palazzo Soranzo Van Axel in Venice,
Italy. More than 300 people from around the world
joined us for this celebration, including friends
from Cleveland pictured here. Collective Behavior,
a Collateral Event of the 60th International Art
Exhibition—La Biennale di Venezia, is on view
until October 20, 2024. Afterwards, an iteration of
the exhibition comes to Cleveland, where it is on
view in the Julia and Larry Pollock Focus Gallery
from February 14 to June 8, 2025.
22 2024 ISSU
Mm
i)
OPPOSITE, RIGHT
Installation views of
Shahzia Sikander:
Collective Behavior at
he Palazzo Soranzo Van
Axel in Venice, Italy
Principal support is provided by the
Terra Foundation for American Art,
he Andy Warhol Foundation for the
Visual Arts, Rebecca and Irad Carmi,
and Lauren Rich Fine. All exhibitions
at the Cincinnati Art Museum and
he Cleveland Museum of Art are
underwritten by the respective
institution’s Fund for Exhibitions
BELOW
Emily Liebert, curator
of contemporary art,
Cleveland Museum of
Art; Shazia Sikander,
artist; and Rebecca
and Irad Carmi Carmi,
principal supporters
of Shazia Sikander:
Collective Behavior
ABOVE
Michelle Jeschelnig,
trustee, Cleveland
Museum of Art; Scott
Mueller, trustee,
Cleveland Museum of
Art; and
Emily Liebert
RIGHT
Opening celebration (left to right): Sean Kelly, owner,
Sean Kelly Gallery; Heidi Strean, Margaret and Loyal
Wilson Chief Exhibitions, Design, and Publications Officer,
Cleveland Museum of Art; Shahzia Sikander; Emily Liebert;
Ainsley Cameron, curator of South Asian art, Islamic art, and
Antiquities, Cincinnati Art Museum; and Cameron Kitchin,
Louis and Louise Dieterle Nippert Director of the Cincinnati
Art Museum at the opening celebration for Shahzia Sikander:
Collective Behavior
CMA.ORG 23
EXPERIENCE
Summertime Fun
Flourish in long, light-filled days
Jacqueline Bon
Director of Communications
City Stages
From art-filled parades to global music concerts,
there are many delights to indulge in this summer
at the CMA. Enjoy a glimpse into some of them
here.
Explore Monet’s Garden
View Monet in Focus, a once-in-a-lifetime exhibi-
tion in the Julia and Larry Pollack Focus Gallery
that juxtaposes three loans from the Musée
Marmottan Monet in Paris with two master-
Installation view of Monet in Focus
24 2024 ISSU
works from the CMA’s collection. Placed in con-
versation, these significant paintings by French
Impressionist Claude Monet explore the poetry of
light and atmosphere.
Appreciate Art in the Atrium
Meander beneath two new towering 25-foot-tall
figural sculptures. Rose B. Simpson’s site-specific
installation Strata for the Ames Family Atrium is
the second artwork commissioned specifically for
the expansive, light-filled space.
Enjoy Date Night at the CMA
Our galleries stay open late twice a week for Date
Night at the CMA! Explore the museum together ev-
ery Wednesday and Friday from 5:00 to 9:00 p.m.
Enjoy food and drink at Provenance Restaurant,
special exhibitions, and more than 4,000 artworks
on view. Visit cma.org/datenight.
Celebrate Art and Faith across the Centuries
Take a member’s tour of the uniquely Cleveland
presentation of Africa & Byzantium. Featuring
nearly 160 artworks ranging from jewelry to mo-
saics to textiles and paintings arranged in a dy-
namic architectural setting, the exhibition is sure
to offer something to feast your eyes on. The first
Parade the Circle
international loan show to consider the complex
artistic relationships between northern and east-
ern African Christian kingdoms and the Byzantine
Empire, it includes many never-before-seen loans
from collections in Africa, Europe, and North
America.
Experience Artistry in Motion
The 32nd Parade the Circle fills Wade Oval with
lively sounds and colors, innovative costumes,
handmade masks, giant puppets, and floats on
Saturday, June 8. Magnificent pieces created by
artists, families, schools, churches, and commu-
nity groups from Greater Cleveland and beyond
delight participants and attendees alike.
Immerse Yourself in Natural Wonder
Adventure into the striking volcanic terrain of the
Seven Jeweled Mountain. Once a beloved tourist
destination and Buddhist pilgrimage site, this nat-
ural wonder is now part of North Korea and isolat-
“
TeNeeeen
ae
ed from most of the world. Into the Seven Jeweled
Mountain is an immersive digital experience with
vivid animation inspired by a 19th-century folding
screen depicting the mountain’s scenery.
Learn from a Docent
Cool off on a free docent-led tour of Korean Couture:
Generations of Revolution at 3:30 p.m. on Tuesdays,
Wednesdays, and Saturdays through October
5. Explore the transformative legacy of Korean
couture at this first-of-its-kind fashion exhibition
featuring nearly 40 works ranging from 17th-cen-
tury historical garments to contemporary Korean
ensembles by leading and emerging designers.
Dance to Global Music
The museum’s popular global music series returns
with three free concerts on Wednesdays in July:
Pahua (Mexico) on July 10, Wesli (Haiti) on July 17,
and Bia Ferreira (Brazil) on July 31. City Stages
takes place outside Transformer Station in Ohio
City. Visit cma.org/citystages.
Visit the Fine Arts Garden
The Fine Arts Garden has bloomed! The museum’s
collection extends well beyond the gallery walls,
where a beautiful landscape and sculptures await
discovery. Pick up a snack to go from Provenance
Café and head outside from the museum’s south
entrance. Visit Chester Beach’s Fountain of the
Waters and find your horoscope among the statues
portraying the 12 zodiac signs.
CMA.ORG 25
SUPPORT
Endowing Exhibitions Leadership
Celebrating the gift by Margaret and Loyal Wilson
Loyal and Margaret
Wilson in Verona, Italy
26 2024 ISSU
The CMA’s special exhibitions bring the world to
Cleveland by offering diverse global perspectives
and creating transformative experiences through
art. The future success of special exhibitions de-
pends on the generosity of the CMA’s community
of devoted supporters as well as the dedication of
the museum’s curators and exhibition specialists.
Now, an extraordinary gift from Margaret and
Loyal Wilson provides permanent funding for a
crucial role within the exhibitions team.
Margaret and Loyal Wilson have been ardent
supporters of the CMA for more than 40 years. With
a background in music and Italian Renaissance
studies, Margaret found an immediate connection
with the CMA when they moved to Cleveland in
1983. She was enchanted by the open-air court-
yard (now the Ames Family Atrium) and the col-
lections in the rotunda (now the Monte and Usha
Ahuja Founders Rotunda). The museum’s collec-
tion offered extraordinary discoveries, like Frans
Hals’s Portrait of Tieleman Roosterman (1634),
which made a lasting impression on Margaret. In
1999, she was invited to join the Womens Council,
whose immersive orientation program she would
later chair. This role offered an illuminating look
at the behind-the-scenes operations of the CMA.
Margaret also volunteered with the CMA’s Flower
Fund and was a pedestal arranger for many years.
Loyal’s connection with art began with a for-
mative art history class in college and grew over
time through family trips abroad, where he visit-
ed cathedrals, museums, and cultural sites with
Margaret and their four daughters. Loyal was
inspired by his close friend James (Jim) Bartlett,
a former board chair, to become actively involved
at the museum. Loyal now serves on the board of
trustees and has been instrumental in helping to
guide the museum’s future. He describes the CMA
as “an essential cultural institution of Cleveland”
and stresses the importance of the museum’s spe-
cial exhibitions: “The CMA is renowned for its art
and architecture and for its landscaped grounds,
but that is only part of the story. A great museum
is more than an art collection housed in a beautiful
box. It is a living space, welcoming to all members
of the community with educational opportunities
and new and dynamic programs and exhibitions.”
Special exhibitions became an important focus
for Margaret and Loyal as they got to know the
museum’s curators and enjoyed favorite CMA ex-
hibitions over the years, including Animals in Art:
Clay Creatures by Viktor Schreckengost (2006) and
Artistic Luxury: Fabergé Tiffany Lalique (2008).
Margaret says that special exhibitions “punctu-
ate everything” and complement the permanent
collection.
To advance special exhibitions at the CMA,
they chose to establish the Margaret and Loyal
Wilson Chief Exhibition, Design, and Publications
Officer, an endowed position held by Heidi Strean.
With their profound gift, they have ensured that
this vital role is fully supported forever. Margaret
and Loyal’s lasting commitment reflects their
deep connection with the CMA, their spirited
enthusiasm for the arts, and their affection for the
city of Cleveland.
PERFORMING ARTS
‘Tasting Notes
A toast to the CMA’s new performing arts series
Gabe Pollack
Director of Performing Arts
Doug Katz, chef
When I started working at the Cleveland Museum
of Art, I was immediately drawn to Provenance
Restaurant and thought it could be transformed
into a smaller version of the South Seas, the jazz
supper club portrayed in the movie The Rocketeer
that inspired me to become a music presenter. The
atmosphere at the South Seas was classy yet fun,
and guests shared conversation, food, and drinks
at elegant cocktail tables while a live band provid-
ed the evening’s soundtrack.
After talking with coworkers, I realized that the
structures for creating an enticing supper club ex-
perience that fits the uniqueness of the CMA were
already in place. Chef Doug Katz and Bon Appétit
have a history of curating Taste the Art menus for
which they create dishes inspired by the CMA’s
collection. Similarly, many musical performances
in the galleries and in Gartner Auditorium are
inspired by special exhibitions. Using the CMA’s
collection as a catalyst to pair the culinary arts
with the musical arts seemed like the perfect evo-
lution of programming for the museum, especially
in a setting like Provenance Restaurant. We called
this new series Tasting Notes.
The inaugural program in November 2023
was themed “Date Night with Degas” because
Degas and the Laundress: Women, Work, and
Impressionism was on view. Provenance featured
a decadent menu showcasing French food, in-
cluding wine-steamed mussels, rabbit sausage
with braised carrots and potato puree, and pate
a choux filled with pistachio-rose cream. Each
evening, a live musical act performed a mix of
French music and jazz to complement the menu.
To make the night more enriching, the education
department offered docent-led tours of the exhibi-
tion, which guests could enjoy prior to arriving in
Provenance. The series was a huge success. Each
event reached capacity, and many nights sold out
weeks in advance.
After the exhibition closed, Tasting Notes con-
tinued on Friday evenings in March and April (ex-
cept for the first Friday of the month due to MIX).
The CMA plans to present more renditions to open
these experiences up to even more guests. For
upcoming dates, reservations are strongly encour-
aged and can be made on Provenance’s website.
CMA.ORG 27
COLLECTION
Yinka Shonibare’s Birdcage Kid (Boy)
A sculpture of history and hope
Kristen Windmuller-Luna
Curator of African Art
Birdcage Kid (Boy) 2023.
Yinka Shonibare CBE RA
British-Nigerian, b. 1962).
Fiberglass, cotton, globe,
brass, steel, replica birds
rope, metal; 135.5 x 102 x
88.5 cm. Partial purchase
from the J. H. Wade Trust
Fund and partial gift of
Mark Dinner in honor of
Dr. Dudley S. Dinner, 2023.
© Yinka Shonibare CBE.
In gallery 108
J,
if
ill; mas Han il ie
domestic feathers), wood,
A boy steps forward, carrying birdcages and wear-
ing one as a backpack. His pose projects strength
and determination. Colorful birds perch atop
these enclosures or stretch their wings to fly away.
Connecting to Cleveland history, the sculpture re-
flects both the challenges faced by and the upward
momentum of members of Africa’s diaspora. Yinka
Shonibare CBE RA, one of today’s most celebrat-
ed contemporary artists, created Birdcage Kid
(Boy) in 2023. The London-born British-Nigerian
artist spent his early years in Lagos, Nigeria,
before receiving his master of fine arts degree
from Goldsmiths, University of London in 1991.
Commander of the Order of the British Empire
(CBE) and Royal Academician (RA) are just some
TT
|
Ul NM
NN ua ii
of his achievements. An interdisciplinary artist, he
is best known for captivating figures with potent
historical and social meaning.
Characterized by vibrant fabrics fashioned into
Victorian-style attire, Shonibare’s sculptures com-
ment on colonialism and globalization. Whether
called “wax print,” “African print,” “Ankara,” or
“Dutch wax,” these prints are linked with Africa
because of their contemporary popularity across
many of its countries. However, these textiles have
a complex, global history. In the 1840s, European
firms mass-produced versions of handmade
Javanese batik for Asian markets. When they
didn’t sell there, manufacturers turned to West
African markets, adding visual references to local
fabrics. Enslaved people on American plantations
picked and processed some of the cotton those
factories printed on.
Shonibare uses fabrics made by renowned
Dutch manufacturer Vlisco. While Vlisco num-
bers its patterns, African female market sellers
informally name them. Consequently, both seller
and wearer can reinterpret the pattern’s meaning.
Here, Shonibare chose two patterns: on the coat,
the bird exits its cage, while on the trousers, a
bird soars above a radiant sun. The first pattern
is nicknamed “You leave, I leave.” First sold in 1983
in Togo and Cote d'Ivoire, the pattern was worn
by newlywed women to indicate that they would
not restrain themselves if their husbands were
unfaithful. Here, the pattern takes on a different
emancipatory meaning when worn by a young boy.
The figure’s Afro-Victorian attire highlights
colonial history’s complexity. The boy wears a
tailored short-pants suit with teal stockings and
brown leather boots. When you visit the work at
the CMA, look closely to see the carefully made
fabric-covered buttons and jacket lining. This
ensemble evokes the Victorian-style dress two
boys wear in an image by Nigerian photographer
W. J. Sawyer. The Victorian era takes its name
from Queen Victoria’s reign from 1837 to 1901,
when Britain’s African colonial holdings were
largest. This included Nigeria, which Britain colo-
nized from 1849 until 1960, just two years before
Shonibare’s birth. As colonizer, Britain occupied
Nigeria's territory and exercised political and
Portrait of the
Photographer and
His Sons c. 1880-1900.
W. J. Sawyer (Nigerian,
active c. 1883-19107).
Photographic print on
aristotype paper; 18.3 x
12.5 cm. Photo © Musée
du Quai Branly—Jacques
Chirac, Dist. RMN-Grand
Palais / Art Resource, NY
Wearing Cloth 1800s.
Unknown maker.
Indonesia, Java. Cotton
and dye (batik process);
204.4 x 106.1 cm. Gift of
J. H. Wade, 1918.38
economic control. That control extended to trade,
which brought “wax print” fabric and new fash-
ions to Nigeria.
The artist’s use of Victorian-style clothing—
which Nigerians adopted both by force and by
choice—is both cultural appropriation of and
commentary on British culture. It also speaks
to connections between American slavery and
European colonialism in Africa, visualizing bonds
between Black individuals across continents and
6
“
1
“a
6
time. While the figure’s subject matter addresses
Black individuals’ stories, its skin color is the sig-
nature caramel tone Shonibare uses to keep race
indeterminate. This inherent ambiguity speaks
to the socially constructed nature of race, and its
evolution over time, especially in the United States.
Inspiring the work’s title, six replicas of endan-
gered birds departing antique cages are a high-
light. Through them, Shonibare extends his in-
terests to systemic causes of denied civil liberties
experienced by members of the African diaspora.
This includes the colonial roots of American slav-
ery and contemporary mass incarceration. Here,
the artist’s concerns intertwine with environ-
mental considerations. Red, orange, and yellow
patches on the boy’s globe-head suggest climate
change’s influence on both birds and humans; we
feel this impact during Cleveland’s hotter days and
see it in the often iceless Lake Erie. Yet, the boy’s
youth symbolizes hope amid challenges.
Birdcage Kid (Boy) went on view in the African
art galleries (108) in early February, celebrating
Shonibare’s self-identification as an African artist.
There, the boy in Afro-Victorian garb can connect
with the rg9th- and early 2oth-century African art-
work that might have populated his world. The
sculpture’s themes of liberty and environmental
conservation speak powerfully to visitors, en-
couraging them to think about blended heritage,
climate change, and their own triumphant jour-
neys forward in the face of adversities. We hope
it becomes a cherished favorite in our collection.
CMA.ORG 29
STAFF
The Grounds Crew
Nurturing the CMA’s historical landscape as it grows
The CMA grounds crew:
Quin Perkins, Lott Crosby,
Michael Gould, and David
Treska
30 2024 ISSU
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Tyler Graf, Curtiss Perkins,
Spring and summer at the CMA bring the opening
of the south doors to the Fine Arts Garden, the
delicate frenzy of cherry blossoms around the
lagoon, and the fragrance of the lavender whorls
that frame the second-floor terraces. These outdoor
areas are maintained by a hardworking team of
specialists tasked with making sure the grounds
of the museum are as pleasant to traverse as our
beloved galleries and allées. Cleveland Art took a
stroll around the lagoon with Tyler Graff, grounds
supervisor, to learn more about what goes on out-
side the museum.
What role does the grounds crew play in taking
care of the landscape around the CMA?
Wade Lagoon, the Fine Arts Garden, Smith Family
Gateway, the north lawn, and the newly acquired
Hanna Park on the Harrison-Dillard Bikeway south
of the lagoon make up about tg acres of turf and
landscape beds. I took the job of grounds supervi-
sor in November 2021. At that time, the museum
was utilizing outside labor for mowing the grounds
and maintaining most of the interior pothos and
bamboo planters. Hoping to see improvements in
those areas, we worked to bring that labor in-house
with a dedicated grounds team.
We now have five full-time grounds crew mem-
bers that handle all the mowing and trimming
of turf areas and the weeding, edging, pruning,
hedge trimming, and planting of all landscape
beds. We also remove the snow and ice from the
driveways, walkways, and the parking garage. As
I had hoped, we also maintain the indoor pothos
and bamboo planters, whose quality has notice-
ably improved since we’ve been caring for them,
as well as the garden terraces on the east and west
sides of the second floor.
What does a typical day look like for the grounds
crew in the summer?
RIGHT
A drawing class in the
Fine Arts Garden
The west terrace
featuring Boy and Panther
Cub (1915) by Malvina
Hoffman, boxwood, and
burning bush
We attempt to get most of the maintenance
involving power equipment done in the early
morning before the grounds become busy with
foot traffic. Trash is collected daily, and we make
sure walkways are clean and accessible for the
public. Most project work and plantings are
done in the spring, while summer is dedicated
to maintaining beds via weeding, trimming, and
appropriate pruning practices. We identify pests,
manage fertility or irrigation issues, and work to
find solutions to promote plant health.
How does the grounds crew care for the historic-
al sculptures that surround the lagoon?
The museum’s objects conservation team cares for
the sculptures on the grounds. We make sure to
keep heavy machinery away from the sculptures
and use hand tools and caution while working
around them. This spring, we began installing
plantings around the Hodges boulders and will
evaluate additional plant installations around
other sculptures soon.
What is one of your team’s biggest challenges?
The Smith Family Gateway addition in 2019 and
the new acquisition of Hanna Park across MLK
Drive have greatly expanded the grounds of the
museum as green space for community use. This
also added a good deal of maintenance for our
small crew. But we are glad to provide a higher lev-
el of detail and care by having our own team tend
to these landscaped areas instead of outsourcing
weekly or monthly visits from non-CMA services.
PHOTO COURTESY OF THE MUSEUM ARCHIVES
Additionally, we have been supported by being
able to purchase new equipment as we continue
to hone our practices to make work on our grounds
sustainable with high-quality results.
What might be surprising for visitors to learn
about the museum grounds?
Visitors are often surprised at how vast the muse-
um grounds really are. Many who enter through
our south doors may not realize that the grounds
team’s scope of work extends well past the Fine
Arts Garden down to Wade Lagoon and to the ad-
ditional parklands along MLK Drive.
Wonderfully, many of the plantings and hard-
scaped areas are still or have been maintained
with respect to the design of the Olmsted Brothers,
the sons of Frederick Law Olmsted, who designed
New York City’s Central Park and many other
notable landscapes. Our museum’s landscape is a
historical work of art in and of itself. It is a unique
part of what makes the CMA a world-class facility
and a great asset to Cleveland and its surrounding
communities. I am proud of how the grounds crew
treats the landscape with care and respect. While
there are many eyes on our grounds when the cher-
ry blossoms are blooming in early spring and while
the Chalk Festival brings color to our sidewalks in
the fall, our staff works year round to make sure
the grounds are an enjoyable place every day for
museum and community members alike.
CMA.ORG 31
COLLECTION
To the “Jerusalem of Tuscany” and Back
Ongoing research on a Renaissance relief
Alexander J. Noelle
Assistant Curator of
European Paintings and
Sculpture, 1500-1800
Christ and the
Samaritan Woman at
the Well c. 1500-1530.
Workshop of Giovanni
della Robbia (Italian,
1469-1529/30). Polychrome
terracotta; 221 x 177.8
x 27.9 cm. Gift of Samuel
Mather, 1922.210
32 2024 ISSU
Mm
i)
In spring 2023, Cory Korkow, curator of European
paintings and sculpture, 1500-1800, and I jour-
neyed to Tuscany to research the CMA’s mon-
umental sculpture Christ and the Samaritan
Woman at the Well (c. 1500-1530), attributed to
Giovanni della Robbia and his workshop. This
rare polychrome terracotta relief measuring more
than seven feet tall and nearly six feet wide has
been a cornerstone of the museum’s Renaissance
collection since its acquisition in 1922, and visitors
may remember it from the CMA’s 2021 Stories from
Storage exhibition, which highlighted objects that
are unable to be put on permanent view due to
their condition.
Cory and I began our studies in the small
Tuscan hilltop town of Montaione, located 30
miles southwest of Florence. The Della Robbia
relief was originally sculpted for Montaione’s
“ 74. ———' Sn
- P i" )*)]*))+ ) jp) pa \ Mes 4 PA Peay °
Sacro Monte (sacred mountain) of San Vivaldo, a
Franciscan pilgrimage site with chapels depicting
episodes from the Passion of Christ that pilgrims
could witness firsthand as they traveled through
this “Jerusalem of Tuscany.” The scene on the
Cleveland relief, however, is unique in the series,
as it was sculpted to be viewed by the resident
monks instead of pilgrims, and it was located in
their private open-air well house / chapel.
Derived from the Gospel of John, the narrative
is set outside the city walls of Sychar, or Shechem,
the ruins of which are now in the West Bank. Della
Robbia’s relief illustrates the scene: Christ sits at
the well conversing with the Samaritan woman
who draws water. He reaches out to her, as if in
blessing, and she looks at him quizzically. Behind,
against the city walls of Sychar, the 12 apostles
return from procuring food. At the right, we can
— > 5 = - 7
Sma Dew
54 = ; , oe
Conducting archival
research in the Phototek
of the Kunsthistorisches
Institut in the Palazzo
Grifoni Budini Gattai in
Florence, Italy
The well house / chapel
of the Samaritan
woman witha
reproduction of the relief
now in Cleveland
even see Peter and John’s surprise at encountering
Jesus in discussion with a Samaritan woman.
Unfortunately, Christ and the Samaritan Woman
sustained significant environmental damage in
its original outdoor location, leading to multiple
restorations over the centuries. In 1912, the monks
sold the sculpture to Florentine dealer Elia Volpi,
intending to direct the proceeds to conserve the
remaining chapels frequented by pilgrims. At San
Vivaldo, Cory and I visited the former chapel of
Christ and the Samaritan Woman—which now
features a replica of the relief—and examined the
extant sculptures throughout the Sacro Monte in
order to compare the myriad figures and compo-
sitions with the CMA sculpture.
Following the trail of Christ and the Samaritan
Woman to Florence, we conducted research in the
archives of the Tuscan city, including the Volpi
archives at both the Palazzo Davanzati and the
Phototek of the Kunsthistorisches Institut located
in the Palazzo Grifoni Budini Gattai. We located
the record of its 1914 sale to M. and R. Stora
Brothers, the Paris-based dealers who eventu-
ally sold the relief to Cleveland industrialist and
philanthropist Samuel Mather in 1922. Mather
purchased the relief as a gift for the CMA, where
it was installed in the galleries shortly after its
arrival in Cleveland.
While Christ and the Samaritan Woman had
been installed in the Renaissance galleries and
former Garden Court since its acquisition, when
the museum underwent a full renovation, expan-
sion, and reinstallation in 2005, it was removed
from view, as its condition was too compromised
for public display. The relief has been relocated
to the CMA’s world-class conservation labs for
analysis as we continue to assess its condition in
the hopes that it can one day return to permanent
view following a comprehensive conservation
treatment. Curatorial research is also ongoing;
trips such as our Tuscan sojourn provide vital
clues that inform the gaps in the artwork’s prove-
nance as well as allow for the further evaluation of
the attribution and historical significance of Christ
and the Samaritan Woman.
CMA.ORG 33
MIEIMIBIE RES nie
Recent Events
for Members
Members are invited to enhance their experience through a
variety of events, including exhibition preview days and special
programs that are tailored to specific membership levels and
philanthropic interests. Check out the calendar in this issue for
upcoming member events.
Leadership Circle Lunch and Learn: Curators in Conversation
This spring, 60 Leadership Circle members and exhibition sponsors enjoyed
a preview of the exhibition Korean Couture: Generations of Revolution with
Sooa McCormick, Korea Foundation Curator of Korean Art, and Darnell-
Jamal Lisby, assistant curator of fashion. Afterwards, everyone savored a
delicious lunch at Ohio City restaurant jaja.
TWH
34 2024 ISSUE 2
PHOTOS: MCKINLEY WILEY
70s Ball: A CMA Member Event
Earlier this year, all members were invited to
an evening of celebration at a 70s wonderland
ball. We danced the night away with groovy
tunes from Becky Boyd and the Groove Train and
DJ SqrBiz and ate our fill of fondue and disco
meatballs with multicolored drinks in hand.
Thank you for making the night a blast!
The CMA’s Emerging Leadership Circle
Inaugural Event
The Emerging Leadership Circle enjoyed a private
art tour at Rocket Mortgage FieldHouse of more
than too works from 22 diverse local, national,
and international artists. Following the tour, the
group cheered on the Cavaliers in an executive
suite during a knockout game with the Chicago
Bulls.
- va 2 Moweeoe* © Emerging Leadership Circle
mre 8
Emerging Leadership Circle levels are designed
for art enthusiasts, collectors, and philanthro-
pists (age 45 and under) who want to deepen their
knowledge of, and connection to, the museum
while providing essential operating support. Be a
part of the dedicated and passionate community of
Leadership Circle members at a special price and
enjoy a range of exciting benefits and program-
ming opportunities throughout the year.
if
Emerging Donor $750 ($62.50/month)
Invitations to exclusive Leadership Circle events.
Access to curator-led domestic travel opportunities
Emerging Sustainer $1,200 ($100/month)
Complimentary parking (excludes special events)
Invitations to behind-the-scenes experiences
Emerging Collector $2,400 ($200/month)
Invitations to educational events with the
director
Access to curator-led international travel
opportunities
To join or for more information, visit cma
.org/leadershipcircle, email leadershipcircle
@clevelandart.org, or call 216-707-6832.
Save the date for the next Emerging Leadership
Circle program!
Wednesday, July 24, 6:00 p.m.
Enjoy a cooking demonstration by renowned
Cleveland chef Doug Katz and a tour of the
Southeast Asian galleries by Sonya Rhie Mace,
George P. Bickford Curator of Indian and Southeast
Asian Art. An RSVP is required. Invitations are
emailed a month before the program.
BE
fee
op
CMA.ORG 35
SUPPORT
Spark Curiosity and Creativity
The Annual Fund supports Art to Go, which
offers multisensory experiences that create
connections between people and objects. In
this program, participants examine pieces
from around the world that might not be
immediately recognizable but were all
chosen to spark curiosity and wonder.
Did You Know?
¢ In 2023, Art to Go served 2,594 people in
155 presentations, both at the museum and
in schools, libraries, and adult-living facilities
across Northeast Ohio.
¢ The Education Art Collection contains about
10,000 objects from around the world.
* The oldest object in the Education Art
Collection was created nearly 6,000 years
ago. Create Experiences for Young
Learners
A donation in any amount to the Annual Fund
helps the CMA continue to provide resources to
inspire children of all ages.
Ways to Give
fj Phone
216-421-7350
Mail
The Cleveland Museum of Art
11150 East Blvd.
Cleveland, OH 44106
Web
cma.org/donate
36 2024 ISSUE 2
Reciprocal Memberships
Take your CMA membership on the road!
Enjoy enhanced reciprocal privileges at more than
1,200 museums nationally and abroad.
Depending on your level of membership with the
CMA, you may qualify for free general admission
or free admission to special exhibitions at our
reciprocal partner arts, cultural, and historical
institutions.
Mobile Membership Cards
Get ready to travel with your membership by
downloading your mobile membership card!
Digital membership cards can be accessed from
any mobile device, so you never have to worry
about losing your card or forgetting it at home
when you’re on the go.
= THE CLEVELAND
== THE CLEVELAND == MUSEUM OF ART
== MUSEUM OF ART
Wa
Cart Search
Enjoy organizations such as the following:
Walker Art Center, Minneapolis, Minnesota
Pérez Art Museum Miami, Florida
The Frick Collection, New York, New York
Museum of Contemporary Art Denver, Colorado
Museum of Fine Arts, Boston, Massachusetts
Fine Arts Museums of San Francisco, California
The Art Institute of Chicago, Illinois
Philadelohia Museum of Art, Pennsylvania
Reciprocal privileges start at the Ambassador level.
To upgrade to a reciprocal membership level or learn more,
visit cna.org/membership or call 216-421-7350.
= THE CLEVELAND A uy Q =
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elena Cart Search Menu
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choose “Log In” at the top navigation bar.
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If you are having trouble signing in, click “Forgot
Contact Preferences
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membership@clevelandart.org.
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then “Account Information.”
If you need assistance with your online account on cma.org, please call 216-421-7350
or email membership@clevelandart.org or help.mobilecard@clevelandart.org.
CMA.ORG 37
SUPPORT
Funding Conservation's Greatest Need
Celebrating the gift by Julie Kurtock
Julie Kurtock (center)
with Dean Yoder,
senior conservator of
Paintings and head of
paintings conservation
(left) and Julianna Ly,
assistant conservator of
Paintings (right)
38 2024 ISSU
Mm
i)
“If it weren’t for conservation, there wouldn’t be
art on the walls,” said Julie Kurtock, CMA member
and volunteer. Julie has been closely involved with
the museum for more than 20 years. As a long-
time volunteer, she has helped share the CMA’s
renowned collection with visitors from around
the world. Upon learning more about the CMA’s
conservation area—including the complexities
and expenses involved in protecting and caring
for works of art—Julie has chosen to support the
museum’s most pressing conservation initiatives.
Conservation includes every aspect of main-
taining, preserving, restoring, and protecting the
CMA’s encyclopedic collection, which is held in
trust for the benefit of all the people forever. The
conservation team comprises highly trained, expe-
rienced professionals who are among the world’s
best in their areas of expertise.
Julie became interested in conservation after
observing the often astounding before and after
images showcasing the differences between dam-
aged or deteriorating works of art and the resulting
restorations. Julie noted that “unless you see the
before and after, you maybe wouldn’t understand
the importance of conservation.”
The restoration of Michelangelo Merisi da
Caravaggio’s The Crucifixion of Saint Andrew
(1606-7) is a prime example. One of the most im-
portant paintings in the museum’s collection, the
masterpiece underwent an extensive, years-long
restoration by Dean Yoder, the museum’s senior
conservator of paintings and head of paintings
conservation. Yoder’s treatment was presented
in June 2014 and gave CMA visitors a closer look
at the vital conservation work that typically goes
unseen by the public.
In addition to caring for more than 65,000
works in the permanent collection, CMA conser-
vators also play an important role in the lending
process, enabling the museum to bring ground-
breaking special exhibitions to Cleveland, as well
as to build partnerships with other leading insti-
tutions around the world.
CMA conservators must also travel to build
relationships and procure necessary materials for
their work. For example, the Asian painting con-
servators must source authentic and highly specif-
ic materials, such as silks and papers from Japan
and China, that can only be obtained through face-
to-face, personal contact with direct suppliers. In
this way, they are ambassadors for the museum,
forming meaningful global connections that ad-
vance the CMA and its collection for the benefit of
all. The Julie Kurtock Endowment Fund enhances
this essential conservation work at the CMA.
BOARD OF TRUSTEES
Officers
Ellen Stirn Mavec
Chair
Dr. William M. Griswold
President, Director, and
CEO
Virginia N. Barbato
Vice Chair
James A. Ratner
Vice Chair
Michelle Jeschelnig
Standing Trustees
Stephen W. Bailey
Virginia N. Barbato
Frederick E. Bidwell
Leigh H. Carter
Rev. Dr. Jawanza K.
Colvin
Sarah S. Cutler
Helen Forbes Fields
Lauren Rich Fine
Sarah Nash
Katherine Templeton
O’Neill
Jon H. Outcalt
Dominic L. Ozanne
Julia Pollock
Peter E. Raskind
James A. Ratner
John Sauerland
Manisha Sethi
Emeritus Leadership
James T. Bartlett
Chair Emeritus
Michael J. Horvitz
Chair Emeritus
Alfred M. Rankin Jr.
Chair Emeritus
Trustees Emeriti
James T. Bartlett
James S. Berkman
Life Trustees
Jon A. Lindseth
Mrs. Alfred M. Rankin
Donna S. Reid
Ex Officio Trustees
Charlotte Gouveia
Column & Stripe
Susan Schwarzwald
Womens Council
Secretar Honorary Trustees
: ; Christopher Gorman Kashim Skeete Charles: Bolton Helen Collis
Annapurna Valluri . Terrance C. Z. Egger
Treasurer Agnes Gund Richard P. Stovsky ; ° Robert D. Gries*
: Robert W. Gillespie ;
Russell Klimczuk Rebecca Heller Felton Thomas i } Sally Gries
Assistant Treasurer Edward Hemmelgarn Daniel P. Walsh Jr. Michael). Marvitz J h P. Keithl
. : Susan Kaesgen SSeDi Fe KeUaey
Stephen J. Knerly Jr. Michelle Jeschelnig John Walton Curt Kall
Assistant Secretary : Robert M. Kaye MELIAGIIEY
Nancy F. Keithley Paul E. Westlake Cathy Lincoln
; Alex Machaskee y
Douglas Kern Loyal W. Wilson Robert Madison
William P. Madar
R. Steven Kestner Tamar Maltz
sat : S. Sterling McMillan III
William Litzler Jane Nord
Milton Matte Rev. Dr. Otis Moss Jr.
seca William R. Robertson Henry Ott-Hansen
Elliott L. Schlang Harriet Warm
Scott C. Mueller Marc Wilson
Steohen E. Myers David M. Schneider ;
Eugene Stevens Iris Wolstein
*Deceased
Museum Hours Ticket Center Magazine Staff Education Support
Tuesday, Thursday, 216-421-7350 or Staff writers: Major annual support is provided
Saturday, Sunday 1-888-CMA-0033 Wesley Berg and by Brenda and Marshall Brown,
10:00 a.m.-5:00 p.m.
Wednesday, Friday
10:00 a.m.-9:00 p.m.
Closed Monday
Telephone
216-421-7340 or
1-888-CMA-0033
Website
cma.org
ArtLens App
Wi-Fi network “ArtLens”
Membership
216-707-2268
membership@clevelandart
.org
Provenance Restaurant
and Café
216-707-2600
Museum Store
216-707-2333
Ingalls Library
Tuesday-Friday
10:00 a.m.-4:50 p.m.
Reference desk:
216-707-2530
Fax: 216-707-6659
Nonrefundable service fees
apply for phone and internet
orders.
Parking Garage
The museum recommends
paying parking fees in
advance.
Members: $7 flat rate
Nonmembers: $14 flat rate
Seniors: $2 flat rate every
Tuesday
Transformer Station
1460 West 29th Street
Cleveland, OH 44113
Wednesday-Saturday
10:00 a.m.-5:00 p.m.
216-707-6755
Community Arts Center
2937 West 25th Street
Cleveland, OH 44113
Friday
2:00-7:00 p.m.
Saturday, Sunday
10:00 a.m.-5:00 p.m.
216-707-2483
Sarah Finley Purdy
Project manager:
Annaliese Johns
Editor: Aumaine Rose Smith
Designer: Jihad C. Dennis
The Margaret and Loyal Wilson
Chief Exhibition, Design, and
Publications Officer:
Heidi Strean
Director of Publications:
Thomas Barnard
CMA collection photography:
Howard T. Agriesti,
David Brichford, and
Gary Kirchenbauer
Editorial photography as noted
Printed in Cleveland by
Consolidated Solutions Inc.
Questions? Comments?
magazine@clevelandart.org
Ohio Arts ot
yahega:
arts & culture
Mr. and Mrs. Walter E. Fortney,
David and Robin Gunning, Eva
and Rudolf Linnebach, Gail C.
and Elliott L. Schlang, ShurTape,
and the Kelvin and Eleanor Smith
Foundation. Generous annual
support is provided by Gini and
Randy Barbato, the M. E. and F.
J. Callahan Foundation, Char and
Chuck Fowler, the Giant Eagle
Foundation, the Lloyd D. Hunter
Memorial Fund, Marta Jack and
the late Donald M. Jack Jr., Bill
and Joyce Litzler, the Logsdon
Family Fund for Education,
William J. and Katherine T.
O’Neill, Mandi Rickelman, Betty
T. and David M. Schneider, the
Sally and Larry Sears Fund
for Education Endowment,
Roy Smith, Paula and Eugene
Stevens, the Trilling Family
Foundation, and the Womens
Council of the Cleveland
Museum of Art.
CMA Fund for Education
supporters as of April 25, 2024
CMA.ORG 39
THE CLEVELAND
MUSEUM OF ART
Nautilus Cup 1607.
Cornelis Jansz. van der
Burch (Dutch, active Delft,
d. 1615). Nautilus shell,
silver gilt; 33.3 x 10.6
x 20.1 cm. J. H. Wade Trust
Fund, 2023.154
11150 1
Hast Boulevard
University Circle
Cleveland, Ohio 44106-1797
Dated
Material—Do Not Delay
Periodicals
postage paid at
Cleveland, Ohio
New on View
Gallery 213
This elaborate vessel incorporates a nautilus
shell, most likely brought to the Netherlands
from Indonesia, mounted in silver in the
Dutch city of Delft. Such luxurious objects,
combining a product of nature with a work
of human creativity and artistry, were
featured in cabinets of curiosities. These
were encyclopedic collections of precious
objects popular among wealthy European
collectors in the 1500s and 1600s. They
reflected contemporary knowledge and
were a testament to the broad humanistic
education of the collector.
Early Dutch nautilus cups are mainly
associated with Delft, although only a few
other examples made there are known from
the late 1500s and early 1600s. These feature
the dramatic motif of a sea monster’s head.
This acquisition is a major step in an attempt
to fill a gap in the collection. Despite having
important holdings of 17th-century Dutch
paintings, the CMA has very few examples of
Dutch decorative art.
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